John Dickens Annotations

John Dickens was brought up in a milieu of prosperity, well done clothes and aristocracy, father of Dickens, he was a good looking man, refined manners, clerk in the Navy Pay Office. More than that, he showed “a prodigality from a generous response to the pleasures of life and admirable desire to move up the social scale”, in short, he was heading towards bankrupt and collapse though his secure salary and multiple promotions. He borrowed money amount bigger than the former and winded up in jail for debt in Marshal Sea prison in 1819 then transferred to London and a second time in 1822.
After this, Dickens could not afford school and started working at Warren’s Blacking to help his family financially. He was much situated than other working

Dickens use jeopardy to shift and intensify the mood, tone and other literary and stylistic devices that should be tackled in the fore coming chapters. Smith adds that the repression of Esther drew her into positive settings in her life parallel to what Dickens himself had been repressing since his early childhood, a story telling about success. This in fact stresses the previous mentioned remarks of his works being a projection of his life. According to Smith, standing behind the mask of Esther, a narrative technique used by Dickens hereby and through the revelation this character so highly pointed out by Boulton (1974), “this is only one of a number of anticipations of Freud which have their roots in Dickens’s own meditated experience”. Thus, Dickens meditation’s upon such pictures which would be found as assumptions of psychological undertaking of the human psyche by Freud who assumed, ascertained and theorized upon stylistic and literary

There is a kind of repetitions in the works of Dickens which seem to constitute a pattern of repeating besides his life like quasi-psychological technique in revealing the characters adapted with his consciousness as a moral entity participating sin setting the roundabouts and whereabouts of the causality of events within the display of characters and vice versa. The inner spatial and temporal trespassing between Dickens’s private and public life, real and imaginary is revealed within a letter of 1861 criticizing the religion and bishops, “when the poor law broke down in the frost and the people…were starving to death. The world moves very slowly, after all, and I sometimes feel as grim as-Richard Wardour sitting on the chest in the midst of it”(to Mrs.Nash, 5 March 1861, Pilgrim 9.389)(14).
There is the smell and the seed of fusion in the Dickensian existence over his lifetime and the life that he had foreseen to live but through his characters appalling sometimes and appealing to spiritual salvation. In short, he could subsist in the spheres of time and space.
1.11.3. Dickensian Language and